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Eva Peydró

Eva Peydró

Filóloga, traductora, crítica de cine, periodista cultural y escritora. Miembro de FIPRESCI (Federación Internacional de Prensa Cinematográfica) y de FEDEORA (Asociación de críticos de cine de Europa y Mediterráneo) y en representación de ambas organizaciones ha participado como jurado en festivales internacionales de cine, como Cannes, Venecia, Karlovy Vary o San Sebastián. En 2014 fundó la revista cultural online El Hype, de la que es directora, y a la que contribuye con artículos sobre cultura, críticas cinematográficas y crónicas de festivales de cine. Colaboradora invitada en el programa “El séptimo vicio”, de Radio 3 (RNE), durante el Festival de Cannes.

Author's Articles

74th Festival de Cannes: The cinema is back

74th Festival de Cannes: The cinema is back

The 74th Cannes Film Festival will take place from 6 to 17 July.

“The Bad Poet “: D’Annunzio in his crepuscular age

“The Bad Poet “: D’Annunzio in his crepuscular age

“The Bad Poet” traces the portrait of a crepuscular Gabriele D’Annunzio, which Sergio Castellitto embodies with seductive complexity.

74th Festival de Cannes: The memory of Weerasethakul and Oliver Stone

74th Festival de Cannes: The memory of Weerasethakul and Oliver Stone

After the brilliant and revered Cementery of Splendour (2015), Apichatpong Weerasethakul premieres Memoria at Cannes.

74th Festival de Cannes: Wes Anderson, nostalgia for the yearbook

74th Festival de Cannes: Wes Anderson, nostalgia for the yearbook

“The French Dispatch is Wes Anderson’s new foray into cultural mythomania, with a cast that includes more stars than the firmament.

74th Cannes Film Festival: Fantastic Lamb, The Innocents and Titane

74th Cannes Film Festival: Fantastic Lamb, The Innocents and Titane

The Festival de Cannes has selected three outstanding fantastic films for this year’s edition: Lamb, The Innocents and Titane.

‘The Dig’, from the tomb to the stars

‘The Dig’, from the tomb to the stars

Time and space, the reason for all this and the meaning of life are threaded together in The Excavation, showing with this absent funeral ship – whose rotting frames the centuries have replaced with a primer – the trace of the past, visible and invisible at the same time, the lesson of the shadows of Hiroshima that we have forgotten.

“I May Destroy You”: Let’s talk about consent

“I May Destroy You”: Let’s talk about consent

I could destroy you, a series that has already acquired the status of a benchmark, addresses as its main theme the reflection on consent and its limits, but it does so by rabidly contextualising its nature in a chorally conjugated present.

Closeness, an outstanding debut

Closeness, an outstanding debut

Closeness (Tesnota, 2017) is an outstanding film, especially considering this director is a young man of only 25, and this is his first feature following three previous shorts. There is no doubt that Kantemir Balagov is a disciple of Alexander Sokurov (the Nalchik Film School director), and a good one indeed; his debut confirms his […]